PARQUE VIA

The filmBeto, an elderly «Indio» is looking after a luxury empty house in Mexico, living there alone until it is sold. His contacts with the outside world are limited to the visits made by the owner to inspect his maintenance work, and weekly sessions with Lupe, a prostitute he pays to have a little company. Immured in his solitude, occasionally interrupted by potential buyers, Beto lives like a recluse, cut off from the industrious city of Mexico, a teeming and alarming world. Even a simple visit to the market has become an ordeal. For him, television is the only window onto the world outside, although it is always the same story: blood drenched demonstrations, villainous murders, and dishonourable wars. But when the house is sold he must leave. Despite his former boss’s efforts to find him a new job, having lived in this confined space for over ten years he fears he can no longer work outside. Beyond the individual fate of Beto, Parque vía shows, through the bond between the elderly employee and the owner, the social fracture in modern Mexico: the gap between rich and poor combined with that between whites and «Indios» — the indigenous people of Mexico. Enrique Rivero depicts the wretchedness of an individual, and hence that of a whole population restricted to the most thankless of activities. The film, based on the life of Nolberto Coria, who plays himself (Beto), combines documentary aspects with fiction: «It is necessary to film the beauty of reality. To do that we filmed in 16 mm. This format gives it a documentary look, which helps us identify with the character», explains Enrique Rivero.

Director’s statementThe film’s main point of interest is the fact that the story, in parts, is true. Beto exists and this is what is life is like. He has always worked for a family and it is possible that he will end his days in the same situation. But what interested me most about these characters (the family and Beto) is their relationship: they come from opposite worlds and yet they have been together almost all their lives. They respect and love one another without ever over-stepping the line that clearly demarcates their social class. My way of showing this is free of prejudice, I am objective, like a bystander; there is no good or bad. My intention is to show this character, Beto, and his everyday life, as well as his influences and his habits. For example: the culture of fear that is in the air in Mexico, especially via television, with current events programmes such as «Esto» and «Alarma». The story of this film can be considered as something like a footnote to these kinds of programmes.